1 “RADICAL WOMEN: LATIN AMERICAN ART, 1960–1985” (HAMMER MUSEUM, LOS ANGELES; CURATED BY CECILIA FAJARDO-HILL AND ANDREA GIUNTA WITH MARCELA GUERRERO AND CONNIE BUTLER) I was thrilled and humbled to visit this expansive, deeply researched show at the game-changing moment #MeToo was breaking. The exhibition testified to the drive of so many women artistswho were very often working under repressive, authoritarian, and violent regimesto take control of their own bodies as independent aesthetic, political, and sexual territories. The show brought visibility to marginalized practices through what Fajardo-Hill and Giunta called “situated perspectives”: an effort to avoid essentializing notions of “the feminine” by taking into account culture and context. What emerged was a powerful networkone constituted via bodies, acts, and intimate conversationsthat coursed